WHEN A STRANGER CALLS

US, 2006, 87 minutes, Colour.
Camilla Belle, Tommy Flanagan, Katie Cassidy, Tessa Thompson, Brian Geraghty, Clark Gregg, Derek Delint, Kate Jennings Grant.
Directed by Simon West.

It’s the old terrified baby-sitter plot all over again. The makers have looked at Fred Walton’s film of this name from 1979 where Carol Kane was menaced by a murderous stranger and have adapted it to the present. And, acknowledging that they are not really trying to be original, they have succeeded in making a scary picture. The rating is a 12A or a PG 13.

They have also been smart in going against today’s expectations that there will be brutality, blood and gore up there on the screen. This time there isn’t. Most of the violence occurs off screen, leaving it to the audience’s imagination, although the film climaxes, of course, with the struggle between the baby-sitter and her assailant.

You need a strong screen presence to sustain interest and identification throughout the film. Camilla Belle is a good choice. She is attractive and sensible for her age but inexperienced enough to be frightened. She uses her wits but we know she could be outwitted at times – even though she has to win at the end. She is on screen practically the whole film and makes us share her terror.

The house is not a scary one. It is quite a contemporary mansion, even with in inside atrium with fish and birds. While we tour the house with her at first, we and she are not quite sure of the layout. This helps the suspense as well.

And phones. When a stranger calls can be any time, anywhere with several phones in the house and plenty of mobiles. The phone rings a lot in this film – with some red herrings, of course.

The director builds up a nice, confined sense of terror. It is only old codgers who are not too sympathetic to the young (and I saw the film with a few of these) who will not feel a bit eerie and scared as they watch.

1.The quality of the film as a thriller, eerie, scary, terror rather than horror, imagination rather than gore? Suspense?

2.The screenplay based on the 1979 film, the narrower focus on the babysitting and the fear? Updated to the present: contemporary stars, clothes, talk, issues, homes, use of phones?

3.The play on the imagination, the emotions? The relative absence of gore? The PG13 rating?

4.The prologue during the credits, the phone calls, the babysitter, the mysterious voice? The carnival, the excitement – and the murders, off-screen, during this time?

5.The transition to Colorado, the town, the sequences of the students with the bonfire, the mountain roads, the modern house, design? Glass, the atrium with the fish and the birds? The presence of the cat?

6.The musical score and the sound engineering? Atmospheric for mood? Ominous?

7.Jill, seeing her training at school, athletic and strong? The clash with Bobby and kissing Tiffany? The argument? Scarlett and the comments, the problems? Tiffany’s being her best friend, visiting the house, teasing her, calling herself bitchy? Bobby’s phone call?

8.Jill’s father, his strictness, her going over the phone account, her being grounded? Getting her the job? The bond with her father?

9.Dr Mandrakis and his wife? Pleasant? The tour of the house, the kids asleep, going out?

10.Jill and exploring the house and its detail, the corridors, the alarm system, the various rooms, the bathroom, the closet?

11.The importance of phones in the film, alarming, Jill and her chatting, the mysterious phone calls, to Mrs Mandrakis, to the police, her trying to time the call? Discovering the phone call came from inside the house?

12.The eerie mood, scares, the wind, the doors, Rosa and her arrival, feeding the fish? The lights going on and off? Jill reading, the phone calls, the build-up of tension? The film crying wolf a number of times – until the intruder was in the house?

13.The intruder inside, the light in the lodge, hiding? The children and their fear? The shower and her discovery of Tiffany’s body? The rescue of the children, the fight with the intruder, hiding in the water and discovering Rosa’s body, the intruder’s attempt to drown Jill? The strength of the fight, the struggle, pinning his hand?

14.The arrival of the police, the rescue, the guards on the killer, his look and staring at Jilly? The Mandrakises and the children being safe?

15.Jill in the hospital, going into the corridor, no-one there, the phone ringing? Her waking from the nightmare – a variation on the possibility that this all could happen again?

16.The audience for whom the film was made – and its effect on young women who babysit? People familiar with the genre being bored – and film reviewers complaining that they have seen it before?

BLACK AND WHITE

US, 1999, 98 minutes, Colour.
Scott Caan, Robert Downey Jr, Stacey Edwards, Allan Houston, Gabby Hoffmann, Jared Leto, Joe Pantoliano, Bijou Phillips, Claudia Schiffer, William Lee Scott, Brooke Shields, Ben Stiller, Eddie Kaye Thomas, James Toback, Mike Tyson, Elijah Wood, Brett Rattner, Method Man.
Directed by James Toback.

James Toback is a writer-director who has made comparatively few films over a period of thirty years. His first directorial film was the Harvey Keitel, Fingers. It was something of a sour story of a drug-addicted man, his desire to be a pianist, his clashes, especially with women.

The film was remade to great effect as The Beat My Heart Skipped in 2005, with Romain Duris.

Other films by Toback include Exposed, For Love or Money, The Pick-Up? Artist, Two Girls and a Guy, Harvard Man, When Will I Be Loved.

Toback is something of a cult figure – and an acquired taste. His films tend to be in-your-face. The dialogue, the characters (often improvised by actors), are often marginal, focusing on drugs, sex, greed.

Black and White, as the title indicates, focuses on race relationships in New York City. A group of high school students, many of them with yuppy and influential backgrounds, want to become involved in rap and hip-hop. Power (Oliver ‘Power’ Grant) plays a black gangster who is taken up by white business people. This eventually leads to an undercover agent operating to expose the criminal and a commission by one of the high school students to kill the gangster.

The film was more interesting for its cast. Robert Downey Jr and Brooke Shields play a husband and wife team who are making a documentary (with ambiguous sexuality in their personalities). Ben Stiller plays an undercover agent. Some of the younger members of the cast play the high school students. Model Claude Schiffer appears as an ambitious young woman.

For acquired tastes only.

1.The work of James Toback, offbeat, not mainstream? The darker sides of human nature? Eccentric characters? Perennial themes: sex, drugs, money, violence?

2.The cast, strength, cast against type? Improvised performances? The effect? Dramatic – or not cohesive?

3.The portrait of New York City, the New York world? As perceived by documentary makers? The world of sport? Basketball? Games, managers? Fixing matches? Pressures on players? The role of the gangsters? The detectives and undercover action? The musical score?

4.The title, the race relations issues? Toback and his presentation of characters in black and white? The possibility of grey areas? Black and white psychologically? Morally?

5.The tough issues, the in-your-face style, the confrontative characters?

6.The focus on Rich Bower? Black, the hoodlum? His age, his experience? The world of gangsters? His wanting to get out? His ambitions? The world of rap? His interest in music?

7.The rap world, the music industry? The music of African Americans, language, expressions, feelings? The business background? White businessmen? The high school students – and their attempting to imitate the African Americans, dress, style, language? Issues of money? Rich as a star?

8.The portrait of the white characters, the sports fans, the rap fans? The high school students and their ethos? Charlie, in herself? Her response to rap? Her father and the world of bankers? Wealth? Will and his father being the district attorney? Wanting to emulate the blacks? Hanging around Rich? Ambitions, their worlds, being thwarted?

9.The documentary film-makers, their names (gender interchangeable): Terry, Sam? Robert Downey Jr and Brooke Shields? As a couple, their relationship, their sexuality, bisexuality? Their decision to focus on the high school students? Their style of film-making, in action?

10.Dean Carter, the basketball world, as a champion? His being approached to throw the match? The fixes? His friendship with Rich? Mark Clear and his pose as a gambler, the big stakes? The set-up? The irony of his being under cover? His motivation? To get at Rich? His character, work and ambitions?

11.Dean, his relationship with Greta? Greta and Rich? Greta with the information? The sexual encounter and telling Rich? The presence of Mike Tyson in a guest role? Audience response to Tyson, his background, the charges and his imprisonment? His attitude towards women? Terry and his coming on to him – improvised scene and Tyson’s reaction? The decision to kill Dean? Rich and the contract, Will and his availability? In the gym? Mark and his photographing him?

12.The role of the district attorney? Fixing justice? Wanting to conceal the facts and protect his son? The deal with Mark? The mutual benefit?

13.The Mike Tyson scene, Robert Downey Jr improvising, the effect?

14.The background of supporting characters, those associated with the basketball world, with the rap world, the high school students? Black and white? African Americans in the US? The past, whites emulating the blacks? The destruction of blacks by whites?

A STREETCAR NAMED DESIRE

US, 1951, 122 minutes, Black and white.
Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden.
Directed by Elia Kazan.

A Streetcar Named Desire has become a classic film of a classic play. It is one of Tennessee Williams’ most striking and famous plays. It has been revived a number of times including a television version with Ann- Margret and Treat Williams. Other performers who have essayed the role of Blanche Dubois include Jessica Lange and Glenn Close.

However, the role was originated on the New York stage by Jessica Tandy who, unfortunately, was not considered box office enough for the film. She played opposite Marlon Brando who made an impact in the 1940s when he was just over twenty. At the time of making the film version he was twenty-six.

Vivien Leigh is not a surprising choice for the role of Blanche Dubois. She had won her Oscar in 1939 for her southern belle, Scarlet O’Hara?, in Gone With The Wind. Blanche Dubois could be seen as a kind of Scarlet O’ Hara really gone to seed. She belongs to decayed aristocracy and has remained in her home town trying to preserve the mansion while teaching. However, with mental illness, more than a touch of nymphomania, she has declined and has been sacked from her position in the school. She seeks refuge with her sister in post-war New Orleans.

The film recreates the atmosphere of New Orleans, the confined spaces, especially of the apartment of which Blanche disapproves. By contrast, Kim Hunter is bright and sympathetic as Stella. She makes us believe that she really does love Stanley Kowalski. Marlon Brando does a tour-de-force as Kowalski, having fought in the war, having married Stella, considering himself not cultured and educated but nevertheless using his intelligence with Napoleonic Law and other matters. Karl Malden completes the quartet as the neighbour, Mitch, who is looking after his mother and is attracted to Blanche.

While the film keeps much of the dialogue of the play, it does not feel as if it is merely a filmed play. The performances certainly carry the impact.

The film was directed by Elia Kazan who directed it on-stage. The film was nominated for many Oscars, winning for Vivien Leigh, Kim Hunter and Karl Malden. Brando was beaten that year by Humphrey Bogart and The African Queen and the film was beaten by An American in Paris and Kazan by George Stevens for A Place in the Sun. However, Kazan had won an Oscar for Gentleman’s Agreement in 1947 and was to win another one, along with Brando, in 1954 for On the Waterfront. (In On the Waterfront, Karl Malden gives a very powerful performance as the crusading priest.)

A Streetcar Named Desire was certainly anchored in its time. However, the quality of the writing means that it is still contemporary and relevant. Insight into the human condition?

1.The impact of the play in its time? Marlon Brando’s performance? The creation of the characters of Blanche Dubois and Stanley Kowalski? The choice of Vivien Leigh for Blanche Dubois?

2.The quality of the cast, Oscar nominations and Oscar wins? The quality of the film, awards and nominations? Tennessee Williams and his reputation and career?

3.The black and white photography, the re-creation of the atmosphere of New Orleans, the inner city, slums, apartments? The title? the streetcar but the inner desire as well as the destination? The musical score?

4.The quality of the play, opened out for film purposes? The structure of the play? Close-ups? How much an impression of a filmed play? The strength of the dialogue and language?

5.The film made soon after the time in which it was set? A contemporary play? Compared with later versions which are looking back from the later decades of the 20th century and analysing and dramatising the 1940s? The post-war period?

6.The decline of the south, its gentility, the French families, the manners, the language, Blanche as an English teacher? Stanley saying he was uneducated but able to use more elevated language and ideas? The contrast with his violence and roughness, brutality? Appearances and reality?

7.The presentation of the sexual intensity between the two – in the style of the early 1950s? Suggestion, Stanley changing his shirt, Blanche and her changing her clothes, flirtatious, language?

5. The French families and their reliance on elegant tradition? Decay and corruption? The move to the new parts of the city, slum tenements? The experience of World War Two? The contrast with the new Americans. the Poles? The clash of the two worlds, old and new? The locations: tenements, parks and carriages, tramcars?

6. The significance of the title, the streetcar? New Orleans and its districts? The symbolism of desire? Highlighting relationships, identity, psychological and emotional insight?

7. Vivien Leigh’s portrait of Blanche: her arrival on the streetcar, dressed in white, lady and manners? The smoke at the station? Her dismay at Stella's home? Finding Stella at the bowling alley? The glimpse of Stanley? Her love for Stella yet her feeling Stella's blame? Memories of Bellerive? The initial clash with Stanley? Her reaction to his coarseness, calling him primitive? Her ladylike behaviour: baths, her elegant clothes? Faded gentility? Her books? Yet her drinking? The blend of surface respectability and deeper sensuality? The long sequence of her flirting with the messenger boy? Her enjoying Mitch's company, outings with him. the possibility of marriage? The irony of never letting herself be seen in the light? Stanley's continued attack, suspicions of her, exposing her? The tense meal when Mitch did not turn up? Her drinking and the clash with Mitch? Truth told in anger? Stella going to hospital, Stanley coming home, the violence and the rape? Her physical and mental collapse? Her being taken off to the asylum - as a lady? Her strengths and weaknesses? Her story - her marriage, the homosexual, his relationship, shooting himself (and her continually hearing the shot)? A figure of pathos?

7. Marlon Brando as Stanley and his war experience, tough, insensitive, shrewd, brutal? His work, friends, the drinks, card-playing? His domination of Stella? His reaction when she seemed to order him about? His strong stance on being a Pole rather than a Polack? His taunts of Blanche, going through her clothes, looking for the documents about Bellerive? A sensual man, the heat and the sweat? The fight with Stella and her leaving, their continued reconciliations? Stella in hospital, the final confrontation with Blanche, attraction and repulsion, the violence and the rape? His not sensing his responsibility for Blanche's collapse?

8. Stella: a good woman, home, love for Stanley, sharing his life? Her not wanting to face the truth about Blanche? Suspicions about her? Covering up for her? The outings with her? Her drinking? The clashes with Stanley, his refusing to be dominated by her, her moving out, the returns? The meal with Blanche? Her telling the truth? The baby?

9. Mitch as one of the boys, his care for his mother, interest in Blanche, his becoming a gentleman caller, his refined manner, the outing, good manners, New Orleans style? His hearing Blanche's story? Her not telling him the full truth? Stanley's telling him the truth, his checking it out, not turning up for the dinner, his drinking, arrival and attack? Disillusionment?

10. The use of the tenements and the rooms, the friends playing cards, the place of the women, the disputes amongst the tenement-dwellers?

11. Ordinary life, squalor, clashes, love and hate? The intruder and her disruptions? Differences, difficulty and destruction? Sanity and madness?

THE COURT MARTIAL OF BILLY MITCHELL

US, 1955, 100 minutes, Colour.
Gary Cooper, Charles Bickford, Ralph Bellamy, Rod Steiger, Elizabeth Montgomery, Fred Clark, James Daly, Jack Lord, Peter Graves, Darren Mc Gavin, Robert F. Simon, Charles Dingle.
Directed by Otto Preminger.

The Court Martial of Billy Mitchell tells the story of a colonel during World War Two who stood up for the development of aerial combat and pleading for funds for the development of the air force. In that atmosphere, many of the high command in the United States did not believe in the value of planes, despite the evidence of sinking ships, and treated it more as a novelty. (This is the kind of pigheaded old-fashioned stance exemplified by the French officers in films like Kubrick’s Paths of Glory.)

Gary Cooper portrays Colonel Billy Mitchell – and the IMDB notes that the family were not very happy with this choice of actor because the real Billy Mitchell was short and quick-tempered and the ideal casting seemed to be James Cagney. Rod Steiger who appears as his major opponent might also have fitted the bill.

Cooper, fifty-five at this time, gives his usual dignified performance. A gallery of character actors present military personnel and congressmen like Charles Bickford and Ralph Bellamy. Steiger stands out with a different presence and style, very edgy, after On the Waterfront in his portrayal of Major Allan Guillion. A number of future television stars also make their appearance: Jack Lord, Peter Graves, Darren McGavin?.

The film recreates the atmosphere of World War Two and the transition from old-style warfare to new-style warfare, especially aerial combat.

The film was directed by Otto Preminger. Preminger had emerged on the scene as a significant director in the mid-40s with such films as Laura and then Forever Amber. He made a range of films during the 1950s from light comedy challenging moral stances and codes with The Moon is Blue as well as the presentation of popular novels like Not as a Stranger. He also filmed George Bernard Shaw’s St Joan with Jean Seberg. During the 1960s he moved to bigger-budget films like Exodus, The Cardinal, In Harm’s Way.

1.An interesting film? Entertaining?

2.How real did the film seem? The background of authentic documentation and quotation? Audience reaction now to such blindness and seeming incompetence?

3.What did the film have to say about people’s understanding of the present and the limitations of the point of view – especially concerning developments in the future? Prejudices and the status quo blinding outlook? The basic message about preparation for the future?

4.The structure of the film: introduction to Mitchell, action sequences, his dilemma, the court martial and court structure?

5.How real and interesting a picture did the film give of America between the wars? Attitudes towards the First World War and military warfare? The attitudes of Americans towards defence? Their looking to the future?

6.The quality of Gary Cooper’s screen presence and portrait of Billy Mitchell? His laconic style? Love of the air force, background? His role in World War One, ambitions for himself and the air force, his capacities and leadership? His suffering of rebuffs? The way that he made his complaints? The importance of the support of the Lansdownes? His decision to bomb the ship against orders? Success of the mission and his dismissal? Audience reaction – were the military right to dismiss him? The humility of his work at Houston, writing letters? His friendship with Reid, ability to fall on Reid’s support? His reaction to the accidents of the Shenandoah and the Mexico Plains? Was he right to make his statement to the press? Did he have any alternative? The importance of his integrity towards the army, not wanting to employ dirty tactics in the court martial? His behaviour during the court martial? The fact that he was victimised? His inevitable vindication? Response to the major criticism by Guillion? Audience response to his final condemnation? To his achievement?

7.How good a man was Billy Mitchell, as regards principles and conduct? How admirable? The dilemma about whether to disobey in the future? The real meaning of obedience, thinking for oneself, subordinating oneself to a higher good?

8.What tone did the action sequences give?

9.Was the portrayal of Guthrie and other military men fair? Their attitudes comprehensible? Their belief in the military, its status, code, orders? Their belief about infantry in the successive wars? Beliefs and attitudes governing their policies? Guthrie’s behaviour at the trial? Fair – the sequences in closed court?

10.How did Frank Reid form a contrast with the military men? Pragmatic politician? Why could Billy Mitchell not become a politician? The ingenuity of his support? Obeying Billy’s orders not to do anything vindictive?

11.The importance of Mrs Lansdowne’s testimony? Too emotional for the court, the film? Was it the only way to make a point?

12.The court sequences, the discussion about facts, the discussion about the justification of the statements? The handling of the case as such?

13.Portrayal of the prosecutor – as doing his job fairly?

14.The witnesses, their testimony about the state of American defences?

15.The importance of Guillion’s final attack for the dramatic impact of the film and the characterisation of Mitchell? Rod Steiger’s performance – too harsh? Would it have had the same impact were he less harsh? The importance of the quotations from Mitchell’s letters, their foretelling the future?

16.An ordinary military court film – or something special about it?

THE FLINTSTONES IN VIVA ROCK VEGAS

US, 2000, 90 minutes, Colour.
Mark Addy, Stephen Baldwin, Kristen Johnston, Jane Krakowsky, Joan Collins, Thomas Gibson, Alan Cumming, Harvey Korman, Alex Meneses.
Directed by Brian Levant.

The Flintstones in Viva Rock Vegas is actually a prequel to the 1994 film The Flintstones.

The Flintstones were very successful on television from 1960 to 1966, one of the first of the animation series on television to reach a worldwide audience. Whether it is a good idea to transform cartoon characters into real-life characters on-screen is a moot point. The first film, also directed by Brian Levant (who has made some unmemorable comedies like Are We There Yet, Problem Child 2, Jingle All the Way) was a bit more upmarket than this one with a stronger cast. However, the basic jokes are in both films, plenty of rock puns, and sometimes very amusing parallels between the Stone Age world and the contemporary world.

Mark Addy substitutes for John Goodman in this film. Stephen Baldwin substitutes for Rick Moranis. Kristen Johnston is Wilma and Jane Krakowsky is Betty. The first film boasted having Elizabeth Taylor – and this film can boast a very glamorous Joan Collins acting as if she was still in Dynasty. One of the reviewers referred to her costumes as Neanderthal retro chic as well as designer vulgarity.

There is a villain called Chip Rockefeller – obvious connections. This time, however, an alien arrives from outer space to observe human mating habits and actually helps Fred and Barney. He is played by Alan Cumming who also has the opportunity to play a vain rock star called Mick Jagged.

The film has, by and large, fairly obvious comic style, plenty of crass jokes, corny puns, yet some amusing variations on contemporary themes – even people going to restaurants called Bronto King.

1.The popularity of The Flintstones? As an animated series? The characters, the names, the rock puns? The situations in the Stone Age paralleling contemporary situations?

2.The live action, actors satisfactorily portraying two-dimensional cartoon characters? The impersonations?

3.The setting: the re-creation of Bedrock, the Stone Age? Houses, vehicles? The restaurants, the casinos? The countryside? The dinosaurs?

4.The musical score and its familiarity, ‘Meet the Flintstones’? Songs?

5.The film as a prequel to The Flintstones, Fred and Barney young, meeting Wilma and Betty, falling in love, marriage? The enjoyment of seeing their early lives – for those familiar with them in middle age?

6.Fred and Barney, their characters, caricatures? Genial but dumb? Innocent and naïve? The encounter with Gazoo? Chip Rockefeller and his double-dealings? Fred being tricked at the casino? His being set up to be accused of robbing Wilma’s jewellery? Fred and the encounter with Wilma, falling in love? Was it credible that Wilma would marry him? Barney, the double date, his being with Betty? The transition from naïve, the encounters with Chip Rockefeller and Mick Jagged, to more mature and marrying types? Their interaction with Pearl Slaghoople? The Colonel and his not being with it? Barney and the encounter with Roxie and Betty’s jealousy?

7.Wilma, her wealthy background? The humour and satire in having Joan Collins play her mother? Using the Dynasty style in the Stone Age? Colonel Slaghoople and his not being with it? Wilma and her decision to leave home, getting the job in the restaurant, friendship with Betty? The double date, with Fred? The set-up for the robbery of her jewellery? The attentions of Chip Rockefeller and her rejecting them? Her marrying Fred?

8.Chip Rockefeller, the dastardly Stone Age villain? The casino? His pursuit of Wilma for her money? Letting Fred win, the preparation of the accusation, his being unmasked?

9.The character of Mick Jagged, the vain rock star, the satire at the expense of Mick Jagger? Good-natured or not?

10.Gazoo, the alien, coming to Earth, his encounter with the humans? His befriending Fred and Barney? Helping them out in the end?

11.The characters around Bedrock, the Bronto Crane examiners, Big Rocco and Little Rocco, Roxy and her encounter with Barney? Keith Richrock?

12.An enjoyable entertainment – for those who remember the television series? Or watch it on cable television and satellite? For younger audiences? Adults?

THE ROAD HOME

China, 1999, 90 minutes, Colour.
Zhang Ziyi, Sun Honglei, Zheng Hao.
Directed by Zhang Yimou.

The Road Home is a small film but a fine one. It won several awards at the Berlin Film Festival in 2000.

Zhang Yimou is one of China’s most celebrated directors. After making films like Red Sorghum in the 1980s he had a string of powerful films in the 1990s including Raise the Red Lantern, The Story of Qui Ju, To Live. At the end of the 90s he also made a number of small films including Not One Less. However, in the first decade of the 21st century he had stronger backing from Chinese production companies and made two very significant martial arts films, Hero and The House of Flying Daggers. All in all, Zhang Yimou is a significant world director bringing to the screen the essence of China, its history, its recent history as well as contemporary stories and myths.

The film also introduces Zhang Ziyi who was to have a strong career even at a young age in Crouching Tiger, Hidden Dragon as well as in Zhang Yimou’s films Hero and The House of Flying Daggers. She also began an international career with Memoirs of a Geisha.

The film is framed in black and white, the contemporary story where a businessman returns to his home in northern China to bury his father, the village schoolteacher. He then reminisces about his father’s story, the young teacher and the young girl that he married. This flashback is in bright colour, living colour for powerful memories.

The film thus combines a tender love story as well as the aftermath – and something of the disillusionment as the businessman remembers his father and his father’s urging him to be a teacher. In honour of his father, he teaches school for one day. The film also received the Ecumenical Award at the Berlin Film Festival.

1.The films of Zhang Yimou? His vision, his perspective on the past? His perspective on the communist period in China? Its aftermath? His historical perspective as well as the personal and personalised perspective?

2.The work of Zhang Yimou, this film as a miniature compared with some of his epic films? His skill in communicating characters, stories and themes?

3.The photography: the black and white in the contemporary story framing the flashback? The vivid colours of the flashback? The beauty of the north China countryside, the village, the rituals and ceremonies? The homes, costumes and décor? The musical score – somewhat lush?

4.The title, the reference to Luo Yusheng? His coming home? His journey home and discovering his past? Discovering himself?

5.The setting: the businessman, his success in the city? His piety in returning home? His respect for his father, his mother? His meeting with the mayor? The discussions about the funeral, his mother wanting the traditional funeral? The ritual of people carrying the father’s coffin – for a long journey? Apprehension that there may not be the possibility for enough men to perform the job (the point being made about so many men moving to the city)? The man finding his mother, her waiting in vigil, her being outside the schoolhouse in memory of her husband? His taking her home? The love between mother and son? Her weaving the cloths for the funeral? Yusheng and his recalling the story of his parents, their courtship and marriage?

6.The flashback: the focus on Zhau Di, young, her living with her blind mother? Her caring for her mother? The encounter with Luo, twenty years old? His being appointed the village schoolteacher? The enterprise in the building of the new schoolhouse, the men of the village all helping? The detail of the building and the comradeship? Zhau Di, her weaving the cloth, the cloth to be bound on the rafters of the school? Zhau Di and her attraction for the young teacher? Her visiting the well, the touch of the flirtatious? The teacher and his visiting the young girl, going to the house for a meal, the attraction to the girl? The possibilities for marriage? The sudden being called back to the city, the interrogation? His departure, the gift, the promise to come back? The young girl, her vigil, the story that a teacher was to return? Her being exposed to the elements, getting a fever? Her decision to go to the city, the long walk, the collapse? The return of the teacher, his wanting to see her, his not having permission from the tribunal? The consequences? The separation – two years? His final return? Their marriage, living together for so many decades? A happy ever after until his death?

7.Yusheng, his giving the money to the mayor, the issue of the carrying of the coffin? The surprise on the funeral day, former pupils – in their hundreds – turning up, everyone willing to carry the coffin? His mother reminding the young man that his father wanted him to become a schoolteacher? His respect for his father, his going to the school, teaching the children for a day? In the old schoolhouse?

8.A gentle picture of China, of basic human values, of human nature at its best? The possibilities for joy and happiness? Overcoming difficulties? Respect for the extended family and for the dead? The rituals, the traditions of China?

IF I HAD YOU

UK, 2006, 100 minutes, Colour.
Paul Mc Gann, Sarah Parish, Mark Benton.
Directed by John Deery.

If I Had You is an entertaining murder mystery, police investigation telemovie. It has beautiful English countryside settings, a small town, lake. It also recreates life within the town.

The setting is a high school reunion and the arrival of the new police officer who was at the school and joins in the graduation party. That night, a young woman is murdered and she has to lead the investigation, assisted by the portly policeman who was in the year behind her at school. Sarah Parish is very strong in the role of the police officer. Mark Benton is a convincing Harry – a mixture of shrewdness and softness with a soft spot for the pregnant wife of the main suspect. Paul Mc Gann, looking particularly gaunt, is the main suspect, a good man but a weak man, a womaniser.

As the film moves on, suspicions move from Mc Gann to the police officer herself – but there is a final twist at the end.

The film was directed by John Deery, the director of the film about Irish church troubles, Conspiracy of Silence.

1.An entertaining murder mystery? Telemovie? The pattern of English telemovies like those of Inspector Morse, Inspector Wexford, Midsomer Murders…? Comparisons?

2.The countryside setting, the use made of the beautiful scenery? The town itself, halls, churches and churchyards, police precincts? The timber yard? The musical score and its atmosphere?

3.The title and the ironies – especially as relating to each of the four central characters?

4.The introduction to Sharon Myers, her arrival, the camera tracking her, her strong stances? Her meeting Helen and the happy reunion? Being introduced to Philip? The celebration, the talking? Her noticing the young girl talking to Philip?

5.The young boys playing by the lake, finding the dead body? The identification? The clues? The stab wounds? The missing necklace? The background of the young woman, a teacher at the school, friendship with Helen, friendship with Philip? Sharon and her suspicions, having seen her at the party?

6.The investigation? Sharon and her arrival, unpacking, meeting the staff? Her hard-line investigation? Keeping authority to herself, challenges to delegation? The interactions with Harry, stern with him? The emergence of her relationship with Philip and the deceit? Harry discovering this? The contrast between her passionate reaction and her coldness in detection? Her making investigations, the search of Philip’s house, her reassuring him she didn’t order it? The discoveries? The lipstick in his office? The discussions, her trying to protect him? Continuing the affair? Her believing him – and not believing him? Her following through, audiences being led to believe that she did the murders, planted the evidence? Her relationship with Helen, picking her up at the hospital, going to the yard, audiences assuming that she was going to kill Helen? The irony of the truth? Her death, her headstone? The stories of her being abused by her father? An unhappy life?

7.Philip, his marrying Helen, inheriting the timber factory? At the celebration, his relationship with the young girl? Admitting the affair? The revelation of his relationship with Sharon? Their avoiding people, the meetings in their homes? The love? Did he love her – the background of their meeting earlier, the affair, his ending it, going back to his wife? His fondness for his wife, her pregnancy? His being harassed, interrogated, under suspicion? His protesting his innocence? The hospital, the birth of the baby? His witnessing Helen’s struggle with Sharon, his assumption that Sharon was attacking Helen? His discovering the keys in the garage, the discussion with Helen, her explaining what had happened? The long close-up of his face at the end? What would happen?

8.Helen, pregnant, jovial, teaching, the party, her work at the estate agency? Always supportive of Paul? Always cheerful? Friendly with Sharon, looking at the old photos? The birth? The delight in having Philip’s child? Picked up by Sharon, the struggle, and the irony that she killed Sharon? The truth and her explanation of her motivation, the murder of the young woman?

9.Harry, his devotion to Helen? The investigation, his suspicions? Concealing evidence from the laptop of the young woman, the emails? Further investigation, clashes with Sharon? His seeing Sharon and Philip together? The future for him?

10.The focus on the four main characters, the interactions, a sharper tone than usual? The mystery and its explanation? Satisfying?

SHADOWLANDS

UK, 1993, 131 minutes, Colour.
Anthony Hopkins, Debra Winger, John Wood, Edward Hardwicke, Joseph Mazzello, Peter Firth.
Directed by Richard Attenborough

C.S.Lewis, known as Jack, is a bachelor Oxford don, a Professor of English but well-known for his children's fables, the Narnia tales. He is also known as a writer and broadcaster. He lives a comparatively reclusive and academic life. He receives a letter from an American poet, Joy Gresham. She and her son, Douglas, visit Oxford and he invites them to enjoy Christmas with him and his brother. Douglas does not enjoy the visit. They return to the US where Joy divorces her husband.

She later returns to England and attends one of Lewis's lectures on Christianity. Lewis agrees to a marriage of convenience to enable her to stay in England. She stirs the quietly complacent life of the dons.

When Joy collapses, she is diagnosed with cancer. Lewis goes every day to London to see her and gradually realises he loves her. He proposes to Joy and they are married 'before God' by a vicar in the hospital. They later go on a honeymoon trip to the Golden Valley. However, on their return, Joy goes back to hospital where she dies. Lewis is distraught but gradually returns to his university life and gets support from Douglas.

Shadowlands has come to the big screen from an initial telemovie, written by William Nicholson, starring Joss Ackland and Claire Bloom as Lewis and Joy. Nicholson then adapted the movie for the stage where it was an award-winning play for Nigel Hawthorne. Finally, Nicholson adapted it yet again for director, Richard Attenborough (Gandhi, Cry Freedom, Chaplin, A Chorus Line).

Anthony Hopkins gives a finely nuanced performance as Lewis. Attenborough creates the atmosphere of Oxford in the 50s and 60s with an eye to detail.

Hopkins' performance highlights the don who is almost a recluse, comfortable in bachelor digs with his brother, Warnie (Edward Hardwicke). He comes alive during academic discussions in the dining hall or in the pub.

He enjoys tutorials but is demanding on students. Expert on the tradition of courtly love, he has also written such children's books. He also searches in literature to penetrate something of the mystery of God in the experience of suffering. Hopkins' portrayal of a comfortable celibate attracted to his opposite type is beautifully restrained emotional acting, matched by the American vigour and vulnerability of Debra Winger as Joy.

1.The appeal of the biography of C.S. Lewis? Richard Attenborough and his admiration for Lewis, seeing Lewis as a great man, author, scholar? The humanising of C.S. Lewis?

2.Lewis and his reputation, his Irish background, religious background? His work as a don? His academic skills, the tutorials? His explanation of Courtly Love? His reputation for writing The Narnia Chronicles? His being looked down on this by his fellow dons? The biography of Lewis as British, as human, as religious?

3.The title, Lewis’s own experience, Joy Gresham and her death experience? The shadow lands of suffering leading to the bright lands of happiness? Lewis’s perspective on Joy? (His semi-autobiographical book about this period in his life with Wordsworth’s title and its ambiguity, Surprised by Joy.) The journey from an intellectual scholar to an emotional man?

4.Lewis and his relationship with his brother, their sharing digs? The details of the scholar’s life in Oxford? The life of the dons, the bachelor world? The colleges and rooms? The dining room? The tutorials? The conversation between the dons – intellectual? Lewis and his tutorial groups and individuals? The life in the pub, the experience of the intrusion of the American, the loud Joy? The transition to Joy’s house? The travel sequences and the hotel? The hospitals and Joy’s illness? A shadow lands world?

5.The introduction to Lewis, his character, his experience, his brother, the lectures, the students, the staff? His being very proper? His writings? His religious discourse and lectures? A man of culture?

6.The portrait of Warnie, his relationship with his brother? The characterisation of the other dons, their style, discussions? Ironical sense of humour? A secluded group?

7.Joy Gresham, her American background, her son Douglas? Her violent husband, alcoholic, separated? Her writing to Lewis, coming to England with Douglas? Trying to find him? Her coming to the hotel, calling out for someone called Lewis? Her brashness and the contrast with Lewis? Lewis and his befriending Joy, befriending Douglas? Their celebration of Christmas and his human touch? Their return to the United States?

8.Joy and her return to England, the divorce? Her presence in the lecture? The effect on Lewis? His meeting her again, his decision to go through a form of marriage to give her British citizenship? The perfunctory ceremony and Lewis’s attitude towards it? Not really a marriage in the eyes of God? Their time together? Douglas and his being at home, friendship with Warney? His disappointment about the cupboard – expecting Narnia behind it? The bonds? The love? Joy’s collapse?

9.Joy’s illness, the hospitalisation, Lewis and his going from Oxford to London each day to see her? The effect on him? His decision to marry her, the ceremony? Her return to the house? The painting and the scenery in Herefordshire? The decision to go on a trip – the joy of the countryside, the exhilaration of the honeymoon? In the hotel – and the humour of the room service episode and Lewis’s going into panic in ringing room service?

10.Joy and the return to hospital, her preparation for death, the sadness of her death? The consequences for Douglas?

11.The upbeat ending, the moving out of shadow lands? The sharing between Lewis and Douglas? The bonding? The future together – and the tour? The aftermath and Douglas Gresham’s loyalty over the decades to the memory on Lewis and to his literature?

12.A well-made film, dignified, moving, emotional – and a touch manipulative perhaps?

FREE WILLY

US, 1993, 112 minutes, Colour.
Jason James Richter, Lori Petty, Jayne Atkinson, August Schellenberg, Michael Madsen, Michael Ironside, Mykelti Williamson.
Directed by Simon Wincer.

Free Willy proved a very popular family film in the early 1990s. It was so popular that there were two sequels.

The film made a transition for the popularity of whales – one thinks of Moby Dick of the past as well as such thrillers as Orca, the Killer Whale. After the dolphins, Willy made whales popular.

The film makes the point about animals in captivity as well as whales and dolphins, in Sea Worlds having to perform tricks. (Many commentators made the point that the whales had to perform tricks for the film itself.) However, its heart is in the right place as Willy is led to freedom and the open sea.

The film was directed by Australian Simon Wincer who made a number of films in Australia including Harlequin and The Light Horsemen. In his American career, he made a number of films for Disney including The Girl Who Spelt Freedom and Operation Dumbo Drop. He also directed a number of the television series The Young Indiana Jones Chronicles.

1.An entertaining film for family audiences? Reinstating whales as popular subject for films? A boy and his whale?

2.The American northwest states, the coast, the sea? The beauty of the locations? The seasons? The scenes on fishing boats? The Sea World? The action sequences? The musical score? The song, ‘Will You Be There’, by Michael Jackson?

3.The title, the indication of themes? The background of Jesse as a young boy, assigned to a foster family? His finding his own freedom – or not?

4.The capture of Willy, the fishing boat? The amusement park? The Sea World? The trainer, the manager, Dial, and the training of Willy for tricks? His failure to perform on the first day? The reaction of Jesse? The need for Willy to escape and go back to the sea?

5.The story of Jesse, homeless, in the city, his friendship with Perry, going to the amusement park, pursued by the police? Perry and his spray-painting the tank? His getting away, Jesse being caught, his being assigned to a foster couple, Glenn and Annie? His work, community service, cleaning up the tank? His seeing the whale, getting to know him, calling him by his name? Willy and his response to Jesse? The training, Ray and Randolph? Randolph as a native American? The closeness to Willy, the effect on Jesse, his trusting Willy, learning to trust adults, trusting Glenn? His reaction to Glenn – and his detached attitude towards him?

6.Dial, the villain of the piece? His interest in moneymaking? His plan to have Willy killed, insurance money? His reaction to the first show, Willy not performing? Jesse and his being upset?

7.Jesse, the scenes at home, with Glenn and with Annie? Their fondness for him? Glenn and his distance? Jesse going to run away? going to Willy? His seeing Dial, the men, the sabotaging of the tank?

8.His friendship with Randolph and Ray, his getting them to help him, the discussions about Willy and the sea, the decision to lead him back into the ocean? His wanting to rejoin his family? The preparations, the details of the escape, the accident on the road? Glenn and Annie, their helping out? The hurry to the marina, the time factor in getting Willy into the water, the danger of dehydration, success?

9.Willy as free, going into the ocean? The themes of the environment? Care of animals? An optimistic film and a message film for the family?

JUNEBUG

US, 2005, 106 minutes, Colour.
Embeth Davidtz, Alessandro Nivola, Frank Hoyt Taylor, Scott Wilson, Benjamin Mc Kenzie, Celia Weston, Amy Adams.
Directed by Phil Morrison.

What are we to make of a title like Junebug? Even knowing that it is the chosen name for an unborn child is not a great help either. Let’s just say it’s a tantalising title for what turns out to be a very good film.

Embeth Davidtz is not a household name but she has appeared in many good films including Schindler’s List, Bridget Jones’ Diary and Matilda. Here she plays a sophisticated and elegant gallery curator who falls in love with a charming man from the South (Allesandro Nivola) and accompanies him home while seeking out an eccentric backwoods artist to make a contract. That theme continues during the film with some astute and acerbic comments on the art world and financial wars.

However, the film focuses on the family portrait. They are eccentric and dysfunctional though not exceptionally so. Father is a quiet man, steady, a worker with his hands and an artistic craftsman. He is patience personified. Mother, however, has a lot to say, a biggish and dominating woman who idolises her children and does not welcome a sophisticated Yankee for a daughter –in-law. The younger son is a slacker, working in a garage, trying to do some night studies, resentful of his successful older brother and feeling trapped by his marriage to his high school sweetheart who is now pregnant. Scott Wilson is the father, Celia Weston the mother and Ben Mc Kenzie the son.

The bright spot is the pregnant wife. She survives in the family by being breezily cheerful. And while she thinks she won’t like the visitor, it takes only a few seconds for her to open up (and not shut up) with incessant questions, chatter and affirmation. Amy Adams won a Best Supporting actress nomination and this performance should be an effective calling card for her future career.

The screenplay is continually unpredictable which gives the film added charm and enjoyment. The religious dimension of devout North Carolina folk is respected, especially when the son is invited to sing a hymn at a party to the amazement and even awe of his wife. Family bonds are explored, especially when the wife goes into labour for the birth of Junebug. This sequence and its aftermath are very moving.

Nothing epic about this modest film, but most audiences will not be sorry that they saw it.

1.Small-budget and independent film? Its quality? Portrait of people, ways of life? The blend of the humorous and the serious? Incisive understanding of human nature?

2.The opening, the yodelling, the explanation of yodelling as a way of communication? The theme of the film as communication?

3.The Chicago art world, affluent, stylish, highbrow? The contrast with life in North Carolina, ordinary way of life, families, work? The eccentric artist? The dysfunctional aspects of the North Carolina family?

4.Madeleine, her work, art, her personal style, the encounter with George, the interaction, commentaries, immediate attraction, falling in love, marrying quickly?

5.The journey to North Carolina, the road journey, the interior journey for Madeleine, for George?

6.The agents visiting David Wark? His eccentricity, backwoods, the promises made, the nature of his paintings, the civil war, the phallic symbols? The phone calls? Madeleine deciding to visit? Her journey? Contact with her secretary? Information about the rival agents? Her dealings with the artist, friendship, genial? His eccentric stories? The change of heart, the rivals and the better offer? The importance of doing the deal for Madeleine? Her not going to the hospital, going to talk with him, the price – and the small gift that he asked? Her sense of success?

7.The apprehensions about the trip, George having been away from his family for years, the repercussions?

8.The portrait of the family: the dynamics of the family? The hostility towards Madeleine before she arrived? The friendliness, unfriendliness? The surface? The crises within the family? The experiences of the visit and some transformations?

9.The portrait of Eugene: a quiet man, the dominant wife, the work with his hands, going to the garage, looking for his Philips screwdriver, personal warmth, working at nights? His relationship with his son? The critique of his son? Welcoming George home? Welcoming Madeleine? His being able to sit with her quietly? Reassuring?

10.The contrast with Peg, Madeleine getting her name wrong? Strong, big, loud? Protective? Making all the decisions? Her protectiveness for her sons? The interactions, the end, her weeping, the comfort of her husband?

11.Johnny, callow, sullen, preferring to be with his mates, fixing the cars? His attitude towards his wife, the high school sweetheart, her pregnancy? His drinking? His study course? Jealousy of George? Madeleine and her trying to help with the Huckleberry Finn essay, his misinterpretation of it, advances? His nasty streak? His callousness as regards the pregnancy, the birth of the child? The impact of the death of the child? Ashleigh’s final phone call and his asking about the possibility for another child?

12.Ashleigh, bright and breezy, high school sweetheart, marrying Johnny, at home with the family? Her pregnancy? Her extroversion, initially saying she would hate Madeleine, immediately liking her? Talking, confiding? Sharing things, saving Madeleine after she broke the object? Her experiences, in the south, her delight in life? Going to the hospital? The pathos of the loss of the baby? Her coping, George staying with her, the support of the family? Her resignation, yet optimistic? The final conversation with Johnny on the phone?

13.George, his return, his personal style, the reasons for moving away from his family? Their welcoming him back? His being out and around, meeting old friends? The meals, dining out with the family? The religious background, his singing the hymn? His worry about Ashleigh? The relationship with Madeleine, her being at home in the south or not, their loving relationship? His care for Ashleigh, not wanting Madeleine to go to the artist but to go to the hospital? His staying with Ashleigh, the bond and support? The tensions with Madeleine? The decision to leave, their driving away – and the arm over the shoulder and a reassurance for the future?

14.Madeleine, her style in the south, seeming out of place, saying the wrong thing, getting Peg’s name wrong? Adapting to the south, to the house, to each of the members of the family, her trying to help Johnny with his essay? Listening to the family? Her amazement when George sang the hymn? Her not going to the hospital, wanting the art deal? The aftermath, her feeling ashamed, sitting with Eugene and being supported by him? The drive home, the arm around the shoulder? Hope?

15.The presentation of the dysfunctional family, the family from the south – sympathetic portrait, not patronising, but warts and all? The possibilities of happiness – a form of hope?